Manual Take Me

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We were born sick You heard them say it My church offers no absolutions She tells me: Worship in the bedroom The only heaven I'll be sent to Is when I'm alone with you I was born sick, but I love it Command me to be well Amen, amen, amen. Take me to church I'll worship like a dog at the shrine of your lies I'll tell you my sins so you can sharpen your knife Offer me that deathless death Good God, let me give you my life.

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If I'm a pagan of the good times My lover's the sunlight To keep the goddess on my side She demands a sacrifice To drain the whole sea, get something shiny Something meaty for the main course That's a fine looking high horse What you got in the stable? We've got a lot of starving faithful That looks tasty That looks plenty This is hungry work. No masters or kings when the ritual begins There is no sweeter innocence than our gentle sin In the madness and soil of that sad earthly scene Only then I am human, only then I am clean Amen, amen, amen.

Fleetwood Mac - Gypsy [with lyrics]

Compartilhar no Facebook Compartilhar no Twitter. Take Me To Church Hozier. Nos avise. Recomendar Twitter. Would That I. Playlists relacionadas. Mais acessados. After conducting their business over the phone, Ray performs surveillance on her, and she leaves him a message telling him to be more discreet. Ray simulates a carjacking and takes her hostage that weekend, never breaking character. Impressed with her own ability to stay in character, Ray is forced to take a break to reassure himself that he has the confidence and skill to pull off the scenario.

Ray aggressively interrogates Anna about a made-up client, demanding access to non-existent files.

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Although initially scared and obedient, Anna soon adopts a more mocking tone with him, accusing him of being a pervert who has abducted her under flimsy premises. Enraged, he almost strikes her, and she again mocks him for his reluctance.

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After hitting her, Ray leaves to pay back Tom. Natalie discovers the envelope filled with money and surmises its purpose, angry that her husband would finance Ray's bizarre business. Natalie confronts Ray and realizes that he is using their parents' house for his scenarios, and Ray becomes frustrated when she interrupts his session. After she leaves, Ray hears on the news the police are investigating Anna's disappearance. Rattled, Ray attempts to talk to Anna, who stabs him in the back with an improvised weapon.

The police show up at Ray's house. Panicking, he binds Anna in the basement as he deflects the police officers' questions. After bandaging himself, he attempts to clear up the situation with Anna, who claims to have no knowledge of his business.

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Ray shows her the contract she digitally signed and plays back her earlier phone message, both of which she dismisses as fabrications. Confused and fearing he has kidnapped an unwilling person, Ray agrees to let her go. However, at the last moment, he swallows her car keys, saying that he can not let her go until they figure out an alibi that allows him — and Natalie, who he says is an innocent bystander — to escape jail time.


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After Anna shoots him several times with his pellet gun, Ray attempts to regurgitate the keys, only for Anna to slip and fall unconscious. When Anna wakes, Ray has taken her to a vacation home. There, they discuss their pasts, both revealing that they are divorced. Ray says his ex-wife, who co-founded the business, accused him of criminal wrongdoing.


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  • She agrees not to go to the police, but asks him to explain more details about what she accused him of. Anna suggests he gets off on violence and power, and he chokes her in response. She knocks him unconscious with a fire poker. Armed with Tom's rifle, Anna takes Ray hostage, threatening to shoot him unless he submits to riding in her car's trunk, a punishment he had subjected her to several times.

    At the end of the ride back to the city, Anna happily thanks him for the experience and offers to invest in his business. Stunned, Ray can only mumble a response.

    TAKE ME TO... SANTORINI

    He stumbles back home, and sees Stuart in a restaurant. As Stuart waves at him, Ray cries, then laughs when he sees Stuart is eating a salad. The role of Ray Moody was written with Pat Healy in mind. Healy brought the script to producers Jay Duplass and Mark Duplass , who agreed to finance and co-produce alongside The Orchard and Netflix. Production took place in Glendale, California and Crestline, California over the course of eighteen days. Sheila O'Malley of RogerEbert. Neil Genzlinger's review in The New York Times was more tepid, claiming that "parts of it work, but the overall package is never really suspenseful enough to have you on edge or overtly funny enough to be a lark.

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